A music video is a short film that integrates a song with imagery, is produced for promotional or artistic purposes. Modern music videos are made and used as a marketing device intended to promote the sale of music recordings. There are cases where songs are used in tie-in marketing campaigns that allow them to become more than just a song. Tie-ins and merchandising can be used for food or other products. Although the origins of the music video date back to musical short films that first appeared in the 1920s, they again came into prominence in the 1980s when the channel MTV based their format around the medium. Prior to the 1980s, these kinds of videos were described by various terms including "illustrated song", "filmed insert", "promotional film", "promotional clip", "promotional video", "song video", "song clip" or "film clip". Music videos use a wide range of styles and contemporary video-making techniques, including animation, live action and non-narrative approaches such as abstract film.
Some music videos combine different styles with the music, such as animation and live action. Combining these styles and techniques has become more popular because of the variety for the audience. Many music videos interpret images and scenes from the song's lyrics, while others take a more thematic approach. Other music videos may not have any concept, being a filmed version of the song's live concert performance. In 1894, sheet music publishers Edward B. Marks Joe Stern hired electrician George Thomas and various performers to promote sales of their song "The Little Lost Child". Using a magic lantern, Thomas projected a series of still images on a screen simultaneous to live performances; this would become a popular form of entertainment known as the illustrated song, the first step toward music video. In 1926, with the arrival of "talkies" many musical short films were produced. Vitaphone shorts featured many bands and dancers. Animation artist Max Fleischer introduced a series of sing-along short cartoons called Screen Songs, which invited audiences to sing along to popular songs by "following the bouncing ball", similar to a modern karaoke machine.
Early 1930s cartoons featured popular musicians performing their hit songs on-camera in live-action segments during the cartoons. The early animated films by Walt Disney, such as the Silly Symphonies shorts and Fantasia, which featured several interpretations of classical pieces, were built around music; the Warner Bros. cartoons today billed as Looney Tunes and Merrie Melodies, were fashioned around specific songs from upcoming Warner Bros. musical films. Live action musical shorts, featuring such popular performers as Cab Calloway, were distributed to theaters. Blues singer Bessie Smith appeared in a two-reel short film called St. Louis Blues featuring a dramatized performance of the hit song. Numerous other musicians appeared in short musical subjects during this period. Soundies and released from 1940 to 1947, were musical films that included short dance sequences, similar to music videos. In the mid-1940s, musician Louis Jordan made short films for his songs, some of which were spliced together into a feature film, Lookout Sister.
These films were, according to music historian Donald Clarke, the "ancestors" of music video. Musical films were another important precursor to music video, several well-known music videos have imitated the style of classic Hollywood musicals from the 1930s to the 1950s. One of the best-known examples is Madonna's 1985 video for "Material Girl", modelled on Jack Cole's staging of "Diamonds Are A Girl's Best Friend" from the film Gentlemen Prefer Blondes. Several of Michael Jackson's videos show the unmistakable influence of the dance sequences in classic Hollywood musicals, including the landmark "Thriller" and the Martin Scorsese-directed "Bad", influenced by the stylised dance "fights" in the film version of West Side Story. According to the Internet Accuracy Project, disc jockey–singer J. P. "The Big Bopper" Richardson was the first to coin the phrase "music video", in 1959. In his autobiography, Tony Bennett claims to have created "...the first music video" when he was filmed walking along the Serpentine in Hyde Park, London in 1956, with the resulting clip being set to his recording of the song "Stranger in Paradise".
The clip was sent to UK and US television stations and aired on shows including Dick Clark's American Bandstand. The oldest example of a promotional music video with similarities to more abstract, modern videos seems to be the Czech "Dáme si do bytu" created in 1958 and directed by Ladislav Rychman. In the late 1950s the Scopitone, a visual jukebox, was invented in France and short films were produced by many French artists, such as Serge Gainsbourg, Françoise Hardy, Jacques Dutronc, the Belgian Jacques Brel to accompany their songs, its use spread to other countries, similar machines such as the Cinebox in Italy and Color-Sonic in the USA were patented. In 1961, for the Canadian show Singalong Jubilee, Manny Pittson began pre-recording the music audio, went on-location and taped various visuals with the musicians lip-synching edited the audio and video together. Most music numbers were taped in-studio on stage, the location shoot "videos" were to add variety. In 1964, Kenneth Anger's experimental short film, Scorpio Rising used popular songs instead of dialog.
In 1964, The Moody Blues producer, Alex Murray, wanted to promote his version of "Go Now". The short film clip he produced and directed to promote the single has a striking visual style that predates Queen's similar "Bohemian Rhapsody" vid
Taiwan the Republic of China, is a state in East Asia. Neighbouring states include the People's Republic of China to the west, Japan to the northeast, the Philippines to the south. Taiwan is the most populous state and largest economy, not a member of the United Nations; the island of Taiwan was inhabited by indigenous peoples for thousands of years before the 17th century, when Dutch colonialists opened the island to mass Han immigration. After a brief rule by the Kingdom of Tungning, the island was annexed in 1683 by the Qing dynasty of China, ceded to Japan in 1895. Following the surrender of Japan in 1945, the Republic of China, which had overthrown and succeeded the Qing in 1911, took control of Taiwan; the resumption of the Chinese Civil War led to the loss of the mainland to the Communists and the flight of the ROC government to Taiwan in 1949. Although the ROC government continued to claim to be the legitimate representative of China, since 1950 its effective jurisdiction has been limited to Taiwan and several small islands.
In the early 1960s, Taiwan entered a period of industrialisation. In the 1980s and early 1990s, it changed from a one-party military dictatorship to a multi-party democracy with a semi-presidential system; as a founding member, the ROC represented China in the UN until it was replaced by the PRC in 1971. The PRC has claimed sovereignty over Taiwan and refused diplomatic relations with any country that recognises the ROC; as of 2019, Taiwan maintains official ties with 16 out of 193 UN member states. Most international organisations in which the PRC participates either refuse to grant membership to Taiwan or allow it to participate only as a non-state actor. Most major powers maintain unofficial ties with Taiwan through representative offices and institutions that function as de facto embassies and consulates. In Taiwan, the major political division is between parties favouring eventual Chinese unification and promoting a Chinese identity contrasted with those aspiring to independence and promoting a Taiwanese identity, though both sides have moderated their positions to broaden their appeal.
Taiwan is a high-income advanced economy, with a skilled and educated workforce. It has the 22nd-largest economy in the world, its high-tech industry plays a key role in the global economy, it is urbanised, is one of the most densely populated countries in the world, with most of the population concentrated on the western coast. The state is ranked in terms of civil and political liberties, health care and human development. Various names for the island of Taiwan remain in use today, each derived from explorers or rulers during a particular historical period; the name Formosa dates from 1542, when Portuguese sailors sighted an uncharted island and noted it on their maps as Ilha Formosa. The name Formosa "replaced all others in European literature" and remained in common use among English speakers into the 20th century. In the early 17th century, the Dutch East India Company established a commercial post at Fort Zeelandia on a coastal sandbar called "Tayouan", after their ethnonym for a nearby Taiwanese aboriginal tribe Taivoan people, written by the Dutch and Portuguese variously as Taiouwang, Teijoan, etc.
This name was adopted into the Chinese vernacular as the name of the sandbar and nearby area. The modern word "Taiwan" is derived from this usage, seen in various forms in Chinese historical records; the area occupied by modern-day Tainan represented the first permanent settlement by both European colonists and Chinese immigrants. The settlement grew to be the island's most important trading centre and served as its capital until 1887. Use of the current Chinese name became official as early as 1684 with the establishment of Taiwan Prefecture. Through its rapid development the entire Formosan mainland became known as "Taiwan". In his Daoyi Zhilüe, Wang Dayuan used "Liuqiu" as a name for the island of Taiwan, or the part of it closest to Penghu. Elsewhere, the name was used for the Ryukyu Islands in general or Okinawa, the largest of them; the name appears in the Book of Sui and other early works, but scholars cannot agree on whether these references are to the Ryukyus, Taiwan or Luzon. The official name of the state is the "Republic of China".
Shortly after the ROC's establishment in 1912, while it was still located on the Chinese mainland, the government used the short form "China" to refer to itself, which derives from zhōng and guó, a term which developed under the Zhou dynasty in reference to its royal demesne, the name was applied to the area around Luoyi during the Eastern Zhou and to China's Central Plain before being used as an occasional synonym for the state during the Qing era. During the 1950s and 1960s, after the government had withdrawn to Taiwan upon losing the Chinese Civil War, it was referred to as "Nationalist China" to differentiate it from "Communist China", it was a member of the United Nations representing "China" until 1971, when it lost its seat to the People's Republic of China. Over subsequent decades, the Republic of China has become known as "Taiwan", after the island that comprises 99% of the territory under its control. In some contexts ROC government publications, the name is written as "
Hanyu Pinyin abbreviated to pinyin, is the official romanization system for Standard Chinese in mainland China and to some extent in Taiwan. It is used to teach Standard Mandarin Chinese, written using Chinese characters; the system includes four diacritics denoting tones. Pinyin without tone marks is used to spell Chinese names and words in languages written with the Latin alphabet, in certain computer input methods to enter Chinese characters; the pinyin system was developed in the 1950s by many linguists, including Zhou Youguang, based on earlier forms of romanizations of Chinese. It was published by revised several times; the International Organization for Standardization adopted pinyin as an international standard in 1982, was followed by the United Nations in 1986. The system was adopted as the official standard in Taiwan in 2009, where it is used for international events rather than for educational or computer-input purposes, but "some cities and organizations, notably in the south of Taiwan, did not accept this", so it remains one of several rival romanization systems in use.
The word Hànyǔ means'the spoken language of the Han people', while Pīnyīn means'spelled sounds'. In 1605, the Jesuit missionary Matteo Ricci published Xizi Qiji in Beijing; this was the first book to use the Roman alphabet to write the Chinese language. Twenty years another Jesuit in China, Nicolas Trigault, issued his Xi Ru Ermu Zi at Hangzhou. Neither book had much immediate impact on the way in which Chinese thought about their writing system, the romanizations they described were intended more for Westerners than for the Chinese. One of the earliest Chinese thinkers to relate Western alphabets to Chinese was late Ming to early Qing dynasty scholar-official, Fang Yizhi; the first late Qing reformer to propose that China adopt a system of spelling was Song Shu. A student of the great scholars Yu Yue and Zhang Taiyan, Song had been to Japan and observed the stunning effect of the kana syllabaries and Western learning there; this galvanized him into activity on a number of fronts, one of the most important being reform of the script.
While Song did not himself create a system for spelling Sinitic languages, his discussion proved fertile and led to a proliferation of schemes for phonetic scripts. The Wade–Giles system was produced by Thomas Wade in 1859, further improved by Herbert Giles in the Chinese–English Dictionary of 1892, it was popular and used in English-language publications outside China until 1979. In the early 1930s, Communist Party of China leaders trained in Moscow introduced a phonetic alphabet using Roman letters, developed in the Soviet Oriental Institute of Leningrad and was intended to improve literacy in the Russian Far East; this Sin Wenz or "New Writing" was much more linguistically sophisticated than earlier alphabets, but with the major exception that it did not indicate tones of Chinese. In 1940, several thousand members attended a Border Region Sin Wenz Society convention. Mao Zedong and Zhu De, head of the army, both contributed their calligraphy for the masthead of the Sin Wenz Society's new journal.
Outside the CCP, other prominent supporters included Sun Fo. Over thirty journals soon appeared written in Sin Wenz, plus large numbers of translations, some contemporary Chinese literature, a spectrum of textbooks. In 1940, the movement reached an apex when Mao's Border Region Government declared that the Sin Wenz had the same legal status as traditional characters in government and public documents. Many educators and political leaders looked forward to the day when they would be universally accepted and replace Chinese characters. Opposition arose, because the system was less well adapted to writing regional languages, therefore would require learning Mandarin. Sin Wenz fell into relative disuse during the following years. In 1943, the U. S. military engaged Yale University to develop a romanization of Mandarin Chinese for its pilots flying over China. The resulting system is close to pinyin, but does not use English letters in unfamiliar ways. Medial semivowels are written with y and w, apical vowels with r or z.
Accent marks are used to indicate tone. Pinyin was created by Chinese linguists, including Zhou Youguang, as part of a Chinese government project in the 1950s. Zhou is called "the father of pinyin," Zhou worked as a banker in New York when he decided to return to China to help rebuild the country after the establishment of the People's Republic of China in 1949, he became an economics professor in Shanghai, in 1955, when China's Ministry of Education created a Committee for the Reform of the Chinese Written Language, Premier Zhou Enlai assigned Zhou Youguang the task of developing a new romanization system, despite the fact that he was not a professional linguist. Hanyu Pinyin was based on several existing systems: Gwoyeu Romatzyh of 1928, Latinxua Sin Wenz of 1931, the diacritic markings from zhuyin. "I'm not the father of pinyin," Zhou said years later. It's a lo
Simplified Chinese characters
Simplified Chinese characters are standardized Chinese characters prescribed in the Table of General Standard Chinese Characters for use in mainland China. Along with traditional Chinese characters, they are one of the two standard character sets of the contemporary Chinese written language; the government of the People's Republic of China in mainland China has promoted them for use in printing since the 1950s and 1960s to encourage literacy. They are used in the People's Republic of China and Singapore. Traditional Chinese characters are used in Hong Kong and the Republic of China. While traditional characters can still be read and understood by many mainland Chinese and the Chinese community in Malaysia and Singapore, these groups retain their use of simplified characters. Overseas Chinese communities tend to use traditional characters. Simplified Chinese characters may be referred to by their official name colloquially; the latter refers to simplifications of character "structure" or "body", character forms that have existed for thousands of years alongside regular, more complicated forms.
On the other hand, the official name refers to the modern systematically simplified character set, which includes not only structural simplification but substantial reduction in the total number of standardized Chinese characters. Simplified character forms were created by reducing the number of strokes and simplifying the forms of a sizable proportion of Chinese characters; some simplifications were based on popular cursive forms embodying graphic or phonetic simplifications of the traditional forms. Some characters were simplified by applying regular rules, for example, by replacing all occurrences of a certain component with a simplified version of the component. Variant characters with the same pronunciation and identical meaning were reduced to a single standardized character the simplest amongst all variants in form. Many characters were left untouched by simplification, are thus identical between the traditional and simplified Chinese orthographies; some simplified characters are dissimilar to and unpredictably different from traditional characters in those where a component is replaced by a simple symbol.
This has led some opponents of simplification to complain that the'overall process' of character simplification is arbitrary. Proponents counter that the system of simplification is internally consistent. Proponents have emphasized a some particular simplified characters as innovative and useful improvements, although many of these have existed for centuries as longstanding and widespread variants. A second round of simplifications was promulgated in 1977, but was retracted in 1986 for a variety of reasons due to the confusion caused and the unpopularity of the second round simplifications. However, the Chinese government never dropped its goal of further simplification in the future. In August 2009, the PRC began collecting public comments for a modified list of simplified characters; the new Table of General Standard Chinese Characters consisting of 8,105 characters was implemented for use by the State Council of the People's Republic of China on June 5, 2013. Although most of the simplified Chinese characters in use today are the result of the works moderated by the government of the People's Republic of China in the 1950s and 60s, character simplification predates the PRC's formation in 1949.
Cursive written text always includes character simplification. Simplified forms used in print are attested as early as the Qin dynasty. One of the earliest proponents of character simplification was Lufei Kui, who proposed in 1909 that simplified characters should be used in education. In the years following the May Fourth Movement in 1919, many anti-imperialist Chinese intellectuals sought ways to modernise China. Traditional culture and values such as Confucianism were challenged. Soon, people in the Movement started to cite the traditional Chinese writing system as an obstacle in modernising China and therefore proposed that a reform be initiated, it was suggested that the Chinese writing system should be either simplified or abolished. Lu Xun, a renowned Chinese author in the 20th century, stated that, "If Chinese characters are not destroyed China will die". Recent commentators have claimed that Chinese characters were blamed for the economic problems in China during that time. In the 1930s and 1940s, discussions on character simplification took place within the Kuomintang government, a large number of Chinese intellectuals and writers maintained that character simplification would help boost literacy in China.
In 1935, 324 simplified characters collected by Qian Xuantong were introduced as the table of first batch of simplified characters, but they were suspended in 1936. The PRC issued its first round of official character simplifications in two documents, the first in 1956 and the second in 1964. Within the PRC, further character simplification became associated with the leftists of the Cultural Revolution, culminating with the second-round simplified characters, which were promulgated in 1977. In part due to the shock and unease felt in the wake of the Cultural Revolution and Mao's death, the second-round of simplifications was poorly received. In 1986 the authorities retracted the second round completely. In the same year, the authorities promulgated a final list of simplifications, identical to the 1964 list except for six changes (including the restoration of three characters, simplified in the First Round: 叠, 覆, 像.
MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus
Mandopop refers to Mandarin popular music. The English term was coined around 1980 soon after "Cantopop" became a popular term for describing popular songs in Cantonese, it is now used as a general term to describe popular songs performed in Mandarin. Mandopop is categorized as a subgenre of commercial Chinese-language music within C-pop. Popular music sung in mandarin was the first variety of popular music in Chinese to establish itself as a viable industry, it originated in Shanghai, Hong Kong and Beijing emerged as important centers of the Mandopop music industry. Among the countries where Mandopop is most popular are mainland China, Hong Kong, Malaysia, Singapore and Japan; the Chinese-language music industry began with the arrival of gramophone, the earliest gramophone recording in China was made in Shanghai in March 1903 by Fred Gaisberg, sent by the Victor Talking Machine Company in the U. S. to record local music in Asia. The recordings were manufactured outside China and re-imported by the Gramophone Company’s sales agent in China, the Moutrie Foreign Firm.
The Moudeli Company dominated the market before the 1910s until the Pathé Records took over the leading role. Pathé was founded in 1908 by a Frenchman named Labansat who had started a novelty entertainment business using phonograph in Shanghai around the beginning of the 20th century; the company established a recording studio, the first record-pressing plant in the Shanghai French Concession in 1914, became the principal record company to serve as the backbone for the young industry in China. It recorded Peking opera, but expanded to Mandarin popular music. Other foreign as well as Chinese-own recording companies were established in China. Early in the 20th century, people in China spoke in their own regional dialect. Although most people in Shanghai spoke Shanghainese, the recordings of the pop music from Shanghai from the 1920s onwards were done in Standard Mandarin, based on the Beijing dialect. Mandarin was considered as the language of the modern, educated class in China, there was a movement to popularize the use of Mandarin as a national language in the pursuit of national unity.
Those involved in this movement included songwriters such as Li Jinhui working in Shanghai. The drive to impose linguistic uniformity in China started in the early 20th century when the Qing Ministry of Education proclaimed Mandarin as the official speech to be taught in modern schools, a policy the new leaders of the Chinese Republic formed in 1912 were committed to. Sound films in Shanghai which started in the early 1930s were made in Mandarin because of a ban on the use of dialects in films by the Nanjing government popular songs from films were performed in Mandarin. Mandarin popular songs that started in the 1920s were called shidaiqu, Shanghai was the center of its production; the Mandarin popular songs of the Shanghai era are considered by scholars to be the first kind of modern popular music developed in China, the prototype of Chinese pop song. Li Jinhui is regarded as the "Father of Chinese Popular Music" who established the genre in the 1920s. Buck Clayton, the American jazz musician worked alongside Li.
Li established the Bright Moon Song and Dance Troupe, amongst their singing stars were Wang Renmei and Li Lili. There was a close relationship between music and film industries and many of its singers became actresses. Around 1927, Li composed the hit song "The Drizzle" recorded by his daughter Li Minghui, this song is regarded as the first Chinese pop song; the song, with its fusion of jazz and Chinese folk music, exemplifies the early shidaiqu - the tune is in the style of a traditional pentatonic folk melody, but the instrumentation is similar to that of an American jazz orchestra. The song however was sung in a high-pitched childlike style, a style described uncharitably as sounding like "strangling cat" by the writer Lu Xun; this early style would soon be replaced by more sophisticated performances from better-trained singers. In the following decades, various popular Western music genres such as Latin dance music would become incorporated into Chinese popular music, producing a type of music that contained both Chinese and Western elements.
These shidaiqu songs may range from those that were composed in the traditional Chinese idiom but followed a Western principle of composition to those that were done in a Western style, they may be accompanied by traditional Chinese or Western instrumentation. In 1931, the first sound film was made in China in a cooperation between the Mingxing Film Company and Pathé; the film industry took advantage of the sound era and engaged singers for acting and soundtrack roles, Li Jinhui's Bright Moonlight Song and Dance Troup became the first modern musical division to be integrated into the Chinese film industry when it joined Lianhua Film Company in 1931. Amongst the best-known of the singer-actress to emerge in the 1930s were Zhou Xuan, Gong Qiuxia, Bai Hong. Although singing stars need not have an acting career, the close relationship between the recording and film industries continued for many decades. Yao Lee, Bai Guang, Li Xianglan, Wu Yingyin became popular, collectively these seven stars became known as the "Seven Great Singing Stars" of the period.
Chinese surnames are used by Han Chinese and Sinicized ethnic groups in Mainland China, Hong Kong, Malaysia, Taiwan, Singapore, Philippines and among overseas Chinese communities. In ancient times two types of surnames existed, namely xing or clan names, shi or lineage names. Chinese family names are patrilineal. Women do not change their surnames upon marriage, except in places with more Western influences such as Hong Kong. Traditionally Chinese surnames have been exogamous; the colloquial expressions laobaixing and bǎixìng are used in Chinese to mean "ordinary folks", "the people", or "commoners". Prior to the Warring States period, only the ruling families and the aristocratic elite had surnames. There was a difference between clan names or xing and lineage names or shi. Xing were surnames held by the noble clans, they are composed of a nü radical, taken by some as evidence they originated from matriarchal societies based on maternal lineages. Another hypothesis has been proposed by sinologist Léon Vandermeersch upon observation of the evolution of characters in oracular scripture from the Shang dynasty through the Zhou.
The "female" radical seems to appear at the Zhou period next to Shang sinograms indicating an ethnic group or a tribe. This combination seems to designate a female and could mean "lady of such or such clan"; the structure of the xing sinogram could reflect the fact that in the royal court of Zhou, at least in the beginning, only females were called by their birth clan name, while the men were designated by their title or fief. Prior to the Qin dynasty China was a fengjian society; as fiefdoms were divided and subdivided among descendants, so additional sub-surnames known as shi were created to distinguish between noble lineages according to seniority, though in theory they shared the same ancestor. In this way, a nobleman would hold a xing; the difference between xing and shi was blurring for women since the Spring and Autumn period. After the states of China were unified by Qin Shi Huang in 221 BC, surnames spread to the lower classes. Many shi surnames survive to the present day. According to Kiang Kang-Hu, there are 18 sources from which Chinese surnames may be derived, while others suggested at least 24.
These may be names associated with a ruling dynasty such as the various titles and names of rulers and dynasty, or they may be place names of various territories, towns and specific locations, the title of official posts or occupations, or names of objects, or they may be derived from the names of family members or clans, in a few cases, names of contempt given by a ruler. The following are some of the common sources: Xing: These were reserved for the central lineage of the royal family, with collateral lineages taking their own shi; the traditional description was what were known as the "Eight Great Xings of High Antiquity", namely Jiāng, Jī, Yáo, Yíng, Sì, Yún, Guī and Rèn, though some sources quote Jí as the last one instead of Rèn. Of these xings, only Jiang and Yao have survived in their original form to modern days as occurring surnames. Royal decree by the Emperor, such as Kuang. State name: Many nobles and commoners took the name of their state, either to show their continuing allegiance or as a matter of national and ethnic identity.
These are some of the most common Chinese surnames. Name of a fief or place of origin: Fiefdoms were granted to collateral branches of the aristocracy and it was natural as part of the process of sub-surnaming for their names to be used. An example is Marquis of Ouyangting, whose descendants took the surname Ouyang. There are some two hundred examples of this identified of two-character surnames, but few have survived to the present. Names of an ancestor: Like the previous example, this was a common origin with close to 500 or 600 examples, 200 of which are two-character surnames. An ancestor's courtesy name would be used. For example, Yuan Taotu took the second character of his grandfather's courtesy name Boyuan as his surname. Sometimes titles granted to ancestors could be taken as surnames. Seniority within the family: In ancient usage, the characters of meng, shu and ji were used to denote the first, second and fourth eldest sons in a family; these were sometimes adopted as surnames. Of these, Meng is the best known.
Occupation From official positions, such as Shǐ, Jí, Líng, Cāng, Kù, Jiàn, Shàngguān, Tàishǐ, Zhōngháng, Yuèzhèng, in the case of Shang's "Five Officials", namely Sīmǎ, Sītú, Sīkōng, Sīshì and Sīkòu.